MDes – Pritam Paul

In my fifth prompt, I embarked on an exploration to enhance the functionality of my sofa’s armrest by crafting a sustainable attachment made of birch plywood. Inspired by the need for a sturdy surface to hold items like cups and plates, I aimed to merge functionality with sustainability in this innovative project. Drawing from previous prompts and the guidance of my professor, I delved into the intricacies of wood craftsmanship, color material finish (CMF) design, and sustainability principles to create a practical solution for everyday comfort.

Exploring Indigo

Even before I started conceptualizing the armrest, I began by experimentation with Indigo. I wanted to give a closure to my experimentation with colors and chart out a comparison of its effects and results. Drawn to Indigo’s rich history and deep blue hues reminiscent of traditional Indian fabrics and denim dyes. As I applied the Indigo to various wood types such as birch, alder, and aspen, I observed how each wood reacted uniquely with the color, resulting in distinct shades and textures. The birch, in particular, resonated with the nostalgic Indigo hue from my memories, evoking a sense of familiarity and connection to my cultural roots.

Color Fastening

Now, since I had done a series of experimentations with the color and the material, it was time to work out on the finish of it. After checking the colorfastness of the natural dyes that I have tried on the wood, I found they were not as permanent as I expected it to be. I started gathering some information and knowledge from colleagues and books on how to work on the color fastening. All the options that I got mostly were synthetic solutions that had to be applied on top of the wooden surface. I wasn’t very convinced on using them. At the end I came through an option of an oil that’s not necessarily used for fastening colors but was a natural way of polishing wood and was a combination of many oils and wax and had a certain level of color fastening properties. It was called “Polyx oil by Osmo”.

It consisted of the following oils:

To my surprise, I was amazed at how it worked and the wood became water repellent to a great extent after the application of it. And the best part about it was that , it is food safe. After a span of time it can be reapplied as and when needed to keep the properties intact. One thing that I realized was that some natural things might not work as good as a man made material but some time and effort we can go close to our expectations. I agree that I had to settle my expectations slightly low and I call it “Green compromise” but the satisfaction that it brings is worth the try.

In my exploration of applying Indigo to birch, aspen, and alder, I found that birch exhibited the most aesthetically pleasing results. Unlike alder and aspen, where the Indigo appeared to dominate the surface, on birch, there was a delicate balance. The Indigo allowed the natural grains of birch to remain visible, creating a captivating contrast that I found visually appealing. And the Polyx oil also made the color look a bit saturated and vibrant.

The above chart summarizes the experiments I have done so far with the colors and material.

Designing the product

After numerous sketches and iterations using cardboard prototypes, I settled on a 3D sketch for the Sofa Armrest Cup Holder. This design captured the essence of functionality and aesthetics that I envisioned.

Material Selection

After considering various wood options, each with its unique properties, I adhered to my sustainability principles by sourcing materials from waste rather than purchasing new wood. I visited several wood shops near the campus and collected discarded wooden scraps. Among the options, birch wood stood out as the most abundant and suitable for my product specifications. Therefore, I opted to proceed with birch plywood for the Sofa Armrest Cup Holder.

Once the mainframe of the product was assembled, I was pleased with its stability and sturdiness. Upon fitting it into the sofa, it integrated seamlessly. However, I acknowledged that the method of joining the panels, done with nails, was not the most sustainable choice. Despite my preference for sustainable practices, my limited proficiency with various saws necessitated this approach.

Enhancing Aesthetics through Experimentation

After assembling the mainframe of the product, I turned my attention to enhancing its aesthetics. Considering various options, I deliberated between applying my knowledge of natural colors and dyes, acquired through previous experiments, or exploring new techniques. While applying familiar methods would have been straightforward, I opted to embrace the opportunity for experimentation and learning by pursuing the latter option.

Exploring Veneer as a Surface Application

While exploring various materials and techniques, I observed many colleagues and students utilizing veneer. I found this surface application intriguing as it offers a transformative effect on wooden products. Veneers come in different types and are relatively affordable. They can also be applied to products made from different wood types, offering versatility in design. This versatility and aesthetic appeal prompted me to choose walnut veneer for my project. I chose Walnut as it was dark in color and it gave me an instant idea of how I can use its contrast with the light colored birch plywood.

Throughout my exploration with wood, I noticed a common thread between nature’s designs and the materials it offers. There’s an inherent organic quality to both, reminiscent of water’s fluid patterns. The grain of wood often mirrors the movement of water, and I found similar patterns in veneer. Inspired by this, I chose water as my thematic element, aiming to enhance the aesthetic appeal of my product. I sketched free-flowing water cascading from the top of the product downward and replicated this pattern by cutting the veneer to mimic the appearance of water droplets.

After applying the veneer to the product surface and clamping it for a few hours, it seamlessly fused with the wood, appearing as though it was always part of the piece. The result was a more polished and professional appearance, elevating the overall aesthetic. However, upon closer inspection, I noticed that the veneer lacked the luster and shine present in the birch plywood. Despite this, the organic-inspired pattern I followed imbued the product with elegance, utilizing curves, drops, and droplets to enhance its visual appeal.

After applying Polyx oil to the entire product, it acquired a subtle yet noticeable sheen, enhancing both its appearance and color. The oil worked effectively in elevating the overall aesthetic of the product, adding a touch of luster that complemented its design.

Sustainable design principles

As a CMF designer, my approach to sustainability is rooted in four core pillars: sustainability as a whole, aesthetics, consumer perception, and material selection. I believe that achieving sustainability involves striking a delicate balance between these pillars. Sustainability is not just about using eco-friendly materials, but also considering the aesthetics and consumer perception of the end product. It’s about creating a product that is both visually appealing and environmentally responsible. While striving for sustainability, I recognize the need for consumers to understand and accept certain compromises, such as the limitations of sustainable materials compared to conventional ones. Additionally, I believe in highlighting the natural beauty and cultural significance of locally available materials, while also advocating for ethical purchasing practices. By integrating these principles into my design process, I aim to create sustainable products that resonate with consumers and contribute positively to the environment.

Reflection and Learning

In wrapping up, this project of making a sofa armrest cup holder has been a great learning experience. I’ve focused on picking materials wisely, making sure they’re sustainable and repurposed. Experimenting with natural dyes and veneer taught me a lot about how to make things look good while being mindful of the environment. Each step along the way, from trying out different techniques to getting feedback, has helped me grow as a designer. I’ve learned to strike a balance between making things look nice and being responsible with my choices. It’s been a journey of trial and error, but it’s made me a better designer in the end.

Prompt 4 / Studio 2

The primary research question guiding my exploration with wood revolves around optimizing resources to enhance the aesthetics of the material while adhering to sustainable practices. Specifically, my objective is to investigate how I can use wood as a base material to incorporate sustainable color, material, and finish (CMF) elements.

Despite having experience working with wood indirectly through my career in automotive interior design, I have never directly engaged with wood as a primary material in my practice. My previous involvement with suppliers exposed me to wood as a component within interior systems, often combined with materials such as metal, textiles, leather, and PVC.

Emphasizing the CMF aspects of woodcraft, the focus lies on introducing sustainable coloration methods to my wooden pieces. This involves exploring various techniques to impart color to the wood surface, while secondary applications such as engravings are intended to enhance the finish. By integrating sustainable coloration methods, my aim is to enhance the visual appeal of the wood while minimizing environmental impact.

Throughout my research and exploration phase, I give careful consideration to the selection of materials and techniques that align with principles of sustainability. My objective is to achieve a harmonious balance between aesthetic enhancement and eco-consciousness, ensuring that each aspect of the CMF process contributes to the overall sustainability of my woodcraft exploration.

Exploring Wood Characteristics & Sources

In this phase of research and exploration, I investigated the characteristics of wood as a material and its potential for color and finish applications. My focus extended to exploring different sources of wood, particularly discarded wood from peers and woodshops, to gather materials for experimentation.

The wood available in our woodshop and often utilized by peers primarily consisted of plywood, aspen, pine wood, and alder. These offcuts varied in shapes and sizes, providing a diverse range of materials for my experiments.

Each type of wood offered unique properties that influenced its suitability for color and finish applications. Plywood, known for its layered construction, presented a challenge due to its varied grain patterns and surface textures. Aspen, with its light color and fine texture, offered a smooth surface ideal for intricate detailing. Pine wood, characterized by its natural knots and grain variations, provided opportunities for rustic and textured finishes. Alder, with its straight grain and light color, was suitable for staining and finishing applications.

To enhance my understanding of wood properties and coloration techniques, I consulted several books, including “Wood: Identification & Use” by Terry Porter, “Understanding Wood: A Craftsman’s Guide to Wood Technology” by R. Bruce Hoadley and “Color, Material, Finish: A Guide for Design Professionals” by Liliana Becerra. These resources expanded my knowledge base and provided valuable insights into the behavior of different material including wood species and their responses to coloration methods. Further I went to Professor Blyt to get his inputs on what I was thinking and that proved very fruitful. I also spoke to different technicians in Design wood shop to understand their perspective on the properties of different wood in terms of different aesthetic finishes. David from the wooden sculpture studio shared a lot of different ways of sculpting wood and even gave me a few wooden offcuts for my experiments together with a chisel toolkit.

Prototyping & Exploration – COLOR

In this phase of my exploration, I explored natural colors, primarily utilizing coffee, beetroot, and turmeric to imbue wood with unique hues and tones. Drawing inspiration from sustainable practices and eco-friendly materials, I visioned to infuse warmth and character into wood surfaces using organic colorants.

COFFEE

Coffee, with its rich brown tones, served as a versatile medium for staining and coloring wood. By brewing strong coffee and applying it to the surface of the wood, I achieved deep, earthy shades that added depth and richness to the material. Experimenting with different concentrations and application techniques allowed me to manipulate the intensity and consistency of the color, resulting in a range of warm, inviting finishes.

Trial / Experiment 1

In this experiment, I brewed a highly concentrated coffee and left it outdoors in the sun, exposed to air, for nearly 24 hours to encourage oxidation and deepen its color. I then applied this concentrated coffee to Aspen wood using a paintbrush to observe how the coffee would penetrate the wood. The outcome was somewhat mixed: while the wood was nicely stained, it appeared flat and felt sticky after drying. This was likely due to the high concentration and oxidation level of the coffee, which may have affected its texture and adhesion to the wood surface.

Trial / Experiment 2

In the subsequent trial, I experimented with three different coffee solutions.

In the first solution, I created a lighter brew by diluting the concentrated coffee with water. The second solution mirrored the first, maintaining the same diluted concentration. For the third solution, I utilized the same concentrated coffee mixture but added a bit of ready-made coffee to enhance the richness of the color effect.

By varying the concentration and composition of the coffee solutions, I aimed to observe how these factors would influence the staining and coloration of the wood.

In this trial, I conducted the process in multiple sessions spread over nearly a week. During each session, I applied one layer of coffee coating to the wooden block using the paintbrush and allowed it to dry completely. After closely observing the color appearance once the first layer had dried, I proceeded to apply the second layer in subsequent sessions.

This methodical approach allowed me to carefully monitor the progression of the color and texture of the wood after each layer of coffee coating. By taking my time and allowing for thorough drying between applications, I aimed to achieve the desired depth and richness of color while ensuring optimal adhesion and absorption into the wood surface.

Freshly applied coffee looked red and saturated in color while wet on the wood surface and turned more blackish once dried completely.

Beetroot

Beetroot, known for its vibrant red pigment, offered a striking contrast to the earthy tones of coffee. Extracting the natural dye from beetroot and applying it to the wood surface yielded bold and expressive hues, infusing the material with a pop of color and visual interest.

Trial / Experiment 1

Initially, I created a beetroot puree by blending a whole beetroot in my blender. I then applied this puree to a small piece of wood to observe its effect. However, I soon noticed that the consistency of the puree was too watery, causing the beetroot color to spread rapidly across the wood surface and the color appeared pale and poor in saturation.

Trial / Experiment 2

For the subsequent trial, I adjusted the consistency of the beetroot puree by draining excess water and allowing it to evaporate under the sun for a couple of hours. This also facilitated some degree of oxidation in the beetroot.

This time, I selected a flat plywood surface and one aspen for testing purposes. I applied the thickened puree onto the plywood using a spoon, ensuring rapid and consistent application to prevent pooling in one area. After applying the puree, I left the plywood exposed to the sun for an additional couple of hours.

Once the allotted time had passed, I removed the excess beetroot puree from the plywood surface using a damp cloth, thereby completing the trial. I noticed that the beetroot pulp I prepared contained a significant amount of water. As a result, the concentrated part of the pulp remained on the surface of the plywood, while the watery component penetrated deeper into the wood.

This led to a noticeable contrast in color intensity between the surface and deeper areas of the plywood. The top surfaces exhibited a more intense color, as the concentrated pulp remained predominantly on these areas, while the color appeared less intense in the deeper layers of the wood. This observation was clearly visible in the accompanying picture.

Turmeric

Given turmeric’s long-standing presence in my culture, where it is commonly used for food coloring and various auspicious purposes, it naturally became a candidate for my next experiment.

Trial / Experiment 1

Similar to my previous experiment with beetroot, I swiftly prepared a paste using the turmeric powder I had brought from India. I then applied this paste onto a small wooden surface to promptly assess its effect.

Trial / Experiment 2

In contrast to my previous trials with beetroot and coffee, I adopted a completely different approach for experimenting with turmeric this time.

I utilized the same panel that I had previously colored with beetroot and taped one side of it, aiming to block the passage of turmeric and its color from one side to the other.

On the opposite corner of the panel, I applied the turmeric paste randomly and allowed it to flow naturally by elevating that side at a 45 degree angle.

Subsequently, I let the panel dry under the sun for a couple of hours to observe the effect.

The combination of beetroot and turmeric, along with the natural flow of the turmeric settling on the edge, imparted a captivating organic texture to the entire panel. Different areas exhibited varying color patches, influenced by the natural concentration of the substances in specific spaces. This resulted in a vibrant and free-flowing organic appearance, enhancing the overall aesthetic of the panel.

Prototyping & Exploration – FINISH (Texture)

Having thoroughly explored the material properties of wood and experimented with coloring techniques, I shifted my focus to exploring the “finish” aspect—applying various secondary applications to create distinctive textures on the material. To start this exploration, I adopted several different approaches.

Firstly, I delved into carving and engraving. For engraving, I experimented with two different methods:

1. Using various types and sizes of chisels to create intricate designs and patterns.
2. Employing a Dremel tool (a handheld motor machine for engraving), allowing for more precision and control over the process.

Trial / Experiment 1

For my initial trial in exploring finishing and texture, I selected one of the wooden blocks stained with beetroot. After sketching a random organic pattern onto it, I began engraving using the Dremel tool. However, I encountered challenges along the way. The varying density of grains in different areas of the wooden block resulted in inconsistent friction for the Dremel tool, leading to some shakiness and difficulty in maintaining control. It took some time for me to adapt and gain a semblance of control over the engraving process.

Trial / Experiment 2

For my next trial in the texturing and finishing process, I was inspired by pyrographic art, which involves burning wooden surfaces to create art. Intrigued by this technique, I decided to experiment with burning wood to achieve unique colors and textures. I burnt several wooden blocks and panels using a pyrographic tool, observing how different types of wood reacted to the burning process. Aspen wood produced a rich and intense color, while plywood resulted in a paler, grayish hue.

After practicing on some scrap pieces, I gained better control over my hand skills with the chisel. I then applied this newfound control to an aspen burntwood piece, creating an appealing linear pattern using two different sizes of chisels and varying pressure. The pattern, which followed an upward direction and didn’t disrupt the wood grain, resulted in a smooth texture. The contrast between the burntwood and the lighter-colored pattern created a dynamic visual effect on the wooden surface.

This experiment brought me immense satisfaction as I optimized the material to a greater extent without relying on external colorants. Instead, I achieved the desired effect simply by burning the surface of the wood. This approach aligns closely with sustainability principles as it minimizes the reliance on additional materials and chemicals, thus reducing environmental impact. By utilizing the inherent properties of the wood itself, such as its reaction to heat and the resulting color changes, I was able to create visually striking textures and finishes while maintaining a sustainable approach to my design exploration.

Trial / Experiment 3

In the final phase of my trial, I experimented with various types of wood, utilizing different chisels to engrave them. I applied varying pressure and engraving techniques to explore different patterns on distinct wooden surfaces. This extensive experimentation provided valuable insights into how different chisel shapes produce unique effects, which further varied depending on the type of wood used.

“Sustainability Evaluation and Reflection on Wood Exploration: Balancing Aesthetics and Responsible Design”

“My wood exploration not only prioritizes sustainable material usage and environmentally conscious practices but also enhances lives emotionally by promoting responsible design principles. By utilizing discarded wood and natural colorants like coffee, beetroot, and turmeric, I optimized material usage and minimized toxic substances, aligning with sustainable practices. This exploration challenged traditional design norms, fostering resource-efficient behaviors and promoting sustainable lifestyles through unique textures and patterns. The aesthetics aspect, focusing on color, material, and finish (CMF) design, showcased the beauty and versatility of natural colorants and secondary applications on wood surfaces. Through this process, I gained valuable insights into the potential of wood as a sustainable material and the importance of integrating sustainability principles into design practices. Reflecting on this exploration, I recognize the importance of considering sustainability throughout the design process, from material selection to end-of-life considerations. Overall, my wood exploration demonstrates a commitment to sustainability and responsible design practices in my Master of Design program.”

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Prompt 3 / Studio 2

In this assignment, I embarked on a creative journey to reimagine traditional textile techniques in the context of modern fabric bag design. Inspired by the rich heritage of Kantha stitch embroidery, I set out to infuse timeless craftsmanship into contemporary creations.

During my discussion with my supervisor Louise about my prompt, she initially recommended Shashiko, a Japanese stitching technique. As we conversed further, I realized that Shashiko bore striking similarities to Kantha, a technique from my province with which I was more familiar. I elaborated on the origins of Kantha, and Louise quickly agreed to explore it further for this prompt. I welcomed this new challenge as my next endeavor.

The focal point of this exploration was the utilization of Kantha stitch, a revered art form originating from Bengal, known for its intricate patterns and delicate handiwork. Instead of merely replicating traditional designs, I sought to reinterpret and adapt the Kantha stitch to breathe new life into fabric bag design.

My approach involved blending tradition with innovation, blending the age-old technique of Kantha stitching with modern fabric choices and design elements. By experimenting with different fabric textures, colors, and patterns, I aimed to create fabric bags that not only paid homage to tradition but also resonated with contemporary sensibilities.

Throughout the creative process, I delved into the nuances of Kantha stitch, exploring its versatility and potential for expression. From simple geometric patterns to more elaborate motifs, each stitch told a story, weaving together the past and present in a tapestry of creativity.

As I navigated the intricacies of fabric bag design, I remained mindful of the need to strike a balance between honoring tradition and embracing innovation. The result is a collection of fabric bags that not only celebrate the timeless artistry of Kantha stitch but also push the boundaries of modern design.

Gathering materials

For this fabric bag project, the initial step involved gathering materials for the Kantha quilting technique. Instead of using fresh fabric, I opted for a sustainable approach by repurposing discarded clothing. After consulting with my wife, we decided to use some of our kids’ old t-shirts for the base material. This decision not only allowed us to minimize waste but also added sentimental value to the project, as the clothing held memories of our children’s earlier years.

Preparation

In preparation for the Kantha stitching process, the fabric underwent some adaptation. While traditional Kantha stitching is typically done with woven fabric, the decision was made to repurpose knitted fabric from our kids’ old t-shirts. Although woven fabric offers more stability for stitching, the challenge of working with knit fabric was embraced as an opportunity for experimentation and innovation.

Considering the unique characteristics of knit fabric, particularly its stretchiness and potential difficulty for stitching, special attention was given to reinforcing the fabric for durability. To provide added weight and texture to the base material, leftover wool fibers from a previous project were incorporated into the fabric layers. This strategic addition not only enhanced the structural integrity of the fabric but also introduced a subtle puckering effect to the stitches, adding depth and dimension to the final piece.

With these adjustments made, the fabric was primed and ready for the Kantha stitching process.

KANTHA Stitching

With the fabric prepared, I began the Kantha stitching process. Following the traditional quilting technique originating from Bengal, I layered the fabric pieces on top of each other, creating a quilt-like structure. Using a simple running stitch, I joined the layers together, ensuring they were securely bonded. This stitching not only added strength and durability to the fabric but also created intricate patterns and textures characteristic of Kantha quilting. I randomly used colors as one got over and whatever I could get my hands on. Reminded me of my grandmother when she did that with donated threads from other families.

As anticipated, the knitted and woven fabrics exhibited distinct textures attributed to their fabric structures. The woven fabric appeared flatter in comparison to the knitted fabric.

For this reason, I opted for denser stitches on the fabric base. To my surprise, after washing the fabric, a pleasing wrinkled effect emerged on the woven side as well.

Design and Assembly

As the Kantha stitching progressed, I began to envision the design and assembly of the fabric bag. Drawing inspiration from traditional Kantha motifs and patterns, I experimented with different arrangements and layouts, seeking to create a visually appealing and functional bag. Finally I decided to keep the gray linear pattern fabric side towards the inside of the bag and the vibrant patterns towards the outside of the bag.

Making the handle of the bag was fun. I took help of my wife to braid a handle of the fabric that was left from the Tshirts.

Final Touches

Once the Kantha stitching was complete, I finalized the assembly of the fabric bag. This involved sewing together the quilted fabric pieces to form the body of the bag, as well as adding handles and any additional embellishments. I ensured that all seams were securely stitched and that the bag was structurally sound.

Reflection & Learning

This fabric bag project presented a valuable opportunity for exploration and discovery, as I ventured into the realm of Kantha stitching and fabric design. Throughout the process, I encountered challenges, made creative decisions, and learned valuable lessons that have enriched my understanding of textile artistry and sustainability.

One of the key takeaways from this prompt was the importance of adaptability and innovation in creative endeavors. While traditional Kantha stitching is typically done with woven fabric, I chose to repurpose knitted fabric from discarded clothing, recognizing the unique textures and challenges it presented. Through experimentation and adaptation, I discovered new techniques for reinforcing and enhancing the fabric, such as incorporating wool fibers for added weight and texture.

Another significant learning from this project was the transformative power of the stitching process itself. By opting for denser stitches on the fabric base, I not only reinforced its structural integrity but also introduced a subtle wrinkled effect on the woven side after washing. This unexpected outcome served as a reminder of the dynamic and unpredictable nature of textile artistry, where experimentation often leads to serendipitous discoveries.

Furthermore, this prompt reaffirmed the importance of sustainability and mindful consumption in creative practice. By repurposing discarded clothing for the fabric bag, I not only minimized waste but also added sentimental value to the project, as the clothing held memories of my children’s earlier years. This conscious decision to embrace sustainable practices aligns with my commitment to environmental stewardship and responsible craftsmanship.

In conclusion, this fabric bag project was not only a creative endeavor but also a journey of personal growth and discovery. Through experimentation, adaptation, and reflection, I deepened my appreciation for the artistry of Kantha stitching and gained valuable insights into sustainable textile design.

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Prompt 2 / Studio 2

Design Direction

Following the positive feedback and insightful suggestions received during the peer review of my previous embroidery project, I was inspired to delve deeper into the concept of sustainability and environmental awareness in textile artistry. Natalie’s suggestion to incorporate the full plastic jar used to make sequins sparked a new direction for my creative exploration.

Meanwhile, I stumbled upon an article on LinkedIn featuring a video of activist Rob Greenfield showcasing the trash he accumulated over the past 30 days from the things he had used. The video was strikingly alarming. Greenfield’s demonstration, wearing the waste he produced, prioritized practicality over aesthetics. Nonetheless, it provided a tangible representation and visualization of the concerning issue of human-generated waste.

As I pondered over to this and Natalie’s idea, it resonated with me, igniting a sense of urgency to address the issue of plastic waste in a tangible and thought-provoking manner. The notion of visually representing the amount of plastic waste present in human garments through embroidery intrigued me, prompting me to embark on the next phase of my artistic journey.

With a renewed sense of purpose, I set out to conceptualize and execute a project that not only showcased the beauty of textile artistry but also shed light on the environmental impact of plastic consumption. Through planning and experimentation, I aimed to create a striking visual narrative that would challenge perceptions and stimulate dialogue on sustainability issues.

Process

For this prompt, I repurposed the body of a plastic jar into strips and small pieces to use as sequins and accessories. Cutting the strips into linear shapes, I punctured holes in each piece and varied their sizes. Using embroidery stitches learned in my undergrad, I attached the plastic sequins to the jacket, experimenting with different patterns and textures. This process highlighted the contrast between beauty and environmental impact, conveying a powerful message about sustainability through creativity and resourcefulness.

Embroidery (an extension)

Unlike my first prompt, where I designed a pattern beforehand, for this embroidery project, I took a different approach. Instead of planning a pattern in advance, I allowed the creative process to unfold organically. Each night, as ideas came to mind, I progressed with the embroidery, experimenting with different placements and arrangements for the plastic strips and sequins. This spontaneous approach enabled me to explore new possibilities and iterate on the design in real-time, resulting in a dynamic and fluid creative journey.

For this embroidery project, an extension of the previous prompt, I chose to continue the embroidery on the same side of the blazer, focusing solely on the left side. My decision stemmed from concerns about how the plastic elements would interact with the fabric. Given the stiffness and rigidity of the plastic compared to the fabric, I worried it might cause puckering and disrupt the overall appearance of the blazer. To mitigate this risk, I intentionally left a significant gap between the embroidered sections, allowing the fabric to maintain its integrity without distortion.

Reflection and Learning

This embroidery project served as a continuation of my exploration into the intersection of sustainability, creativity, and social consciousness. Building upon the foundation laid in my previous prompt, I embarked on a journey to further investigate the impact of plastic waste within human garments through embroidery.

As I worked on the embroidery, I found myself grappling with the juxtaposition of beauty and environmental impact. Each stitch became a statement, challenging perceptions and provoking thought about our relationship with consumption and waste. Drawing inspiration from activist Rob Greenfield’s demonstration of wearing his accumulated trash, I sought to convey a similar message through the medium of embroidery – a tangible representation of the concerning issue of human-generated waste.

As I concluded this prompt, reflections on my use of a yogurt jar for the project evoked memories of simpler times from my childhood when plastic packaging was not as prevalent. Instead, clay pots were commonly used, a tradition that still persists in certain parts of my city in India. This comparison between plastic packaging and clay pots prompted deep contemplation on their respective merits and drawbacks. While plastic offers convenience, it comes with environmental consequences, whereas clay pots are more eco-friendly but may lack certain conveniences. The challenge of weighing these factors leaves me with unanswered questions, but it sparks meaningful contemplation on sustainability and consumption practices.

Throughout the creative process, I embraced spontaneity and experimentation, allowing ideas to unfold organically each night. This approach not only facilitated creative expression but also enabled me to iterate on the design in real-time, exploring new possibilities and pushing the boundaries of my craft.

In the end, this embroidery project served as a testament to the transformative power of creativity and resourcefulness. By repurposing plastic waste into decorative elements for the blazer, I aimed to raise awareness about the environmental impact of consumption and inspire others to rethink their habits. Through artistry and advocacy, I hope to contribute to a more sustainable and environmentally conscious future.

Prompt 1 / Studio 2

Design Investigation

In my design exploration, I embarked on a journey to dived into the world of natural materials, seeking inspiration from their inherent beauty and sustainable qualities. With a focus on materials sourced from nature rather than synthetically manufactured ones, I aimed to create innovative solutions that marry functionality with aesthetics.

To kickstart my exploration, I sought guidance from Stephanie Ostler, a respected faculty member in the undergraduate textiles department at Emily Carr University. Drawing from my background in textiles at the graduate level, I recognized the value in understanding current approaches and perspectives at the undergraduate level. Stephanie’s expertise and encouragement provided a solid foundation for my exploration.

Immersing myself in Stephanie’s classes, I engaged with fellow students to gain insights into their experiences and perspectives on natural materials. These interactions fueled my curiosity and enriched my understanding of the diverse possibilities inherent in these resources. I delved into an array of natural materials, exploring their unique properties and potential applications.

My ultimate goal was to develop a novel material that not only showcased the inherent qualities of natural resources but also offered practical functionality and aesthetic appeal. With technical specifications in mind, I brainstormed ideas and experimented with various combinations and processes to create a material that met my vision.

Through this journey of craft and collaboration, I embraced the challenges and discoveries that arose along the way. From sourcing raw materials to refining production techniques, each step brought me closer to realizing my creative vision. My exploration culminated in the creation of a material that seamlessly integrated wool and cotton, harnessing their inherent qualities to craft a versatile and sustainable solution.

In essence, my design exploration epitomizes the symbiotic relationship between nature, innovation, and creativity. It underscores the transformative potential of natural materials, inspiring sustainable solutions that resonate with both form and function. Through collaboration and experimentation, I have discovered new possibilities and redefined the boundaries of design in the realm of natural material innovation.

Building the foundation: Crafting Handmade Yarn

In my journey to make an eco-friendly and special embroidery, making yarn by hand became really important. I carefully picked cotton yarns from the recycling box in a community centre and woolen fibers donated by Stephanie, then twisted them together skillfully. This made a yarn that looks good and works well.

I picked each one carefully for how they feel and how they could work together. Twisting them by hand needed a lot of care to make sure they were just right.

Choosing the right cotton yarns was super important. I looked at their color, feel, and quality. By spinning them carefully, I mixed them with wool to make a strong yarn that retains the idea of fusion. I had applied both S twist and Z twist (clock and anti lock twists) in the same yarn to provide strength.

By keeping the materials true to themselves and retaining their natural beauty, the handmade yarn looked promising. This didn’t just make my project real, but it also showed how we can make art sustainably with textiles.

Embroidery

In the embroidery phase, at first I considered using purchased fabric but ultimately decided to repurpose my old linen jacket as the canvas. Linen’s natural texture aligned well with the handmade yarn. Beginning with a floral motif on one pocket, the soft tones of the linen provided a pleasing contrast to the vibrant yarn colors.

As I embroidered the fabric, I felt it needed more appeal. So, I incorporated off-cuts of felt fabric from the college. Feeling the flower on the pocket looked isolated, I decided to add sequins for complementing it. Unable to find any in the college, I made my own from a plastic yogurt jar lid. Cutting hexagonal shapes and adding them as sequins, I enhanced the embroidery with unique touches.

REFLECTION

This embroidery project has been a journey of creativity, sustainability, and growth. By experimenting with handmade yarn and incorporating repurposed materials, I explored new techniques and pushed the boundaries of my craft. Collaborating with Stephanie Osler and drawing inspiration from her classes enriched the process, fostering a sense of community and learning. Looking ahead, I am excited to continue exploring sustainable design and sharing my passion with others.

Introduction
In the ever-evolving landscape of design, the intersection of aesthetics and sustainability has become an important reality, calling for exploration and innovation. As a material designer with years dedicated to the craft, the journey has been full of creativity and exploration, yet a recent evolution in perspective has ignited a new chapter. This shift centers around a profound question: How can the domain of material design be redefined to not only meet rigorous sustainability standards but also captivate the human psyche through aesthetics?

Background as a Material Designer
My journey in the world of material design has been with hands-on experience, experiments, and efforts full of pushing boundaries. From conceptualizing ideas to bringing them to tangible products, each project has been a stepping stone in my evolution as a material designer.

Having spent years in the world of materials, from textures to compositions, the natural progression has led me to an important point— a point fueled by a passionate commitment to sustainability. It’s a commitment that stems from witnessing the evolving environmental landscape and the profound impact design choices can have. The motivation behind this exploration is driven by a simple yet profound objective: to create materials that not only stand out for their aesthetic allure but, more importantly, resonate as beacons of sustainability. As we navigate a world increasingly conscious of environmental footprints, the role of a material designer transforms into that of an eco-visionary—someone who shapes the future with materials that not only meet the needs of the present but ensure a thriving legacy for generations to come.

In this design inquiry, I explored areas, seeking to strike a harmonious balance between sustainability and aesthetics. This serves as a part of that journey —a journey through stages of inquiry, discovery, and the melding of ecological responsibility with the allure of design.

Overview
Embarking on this design inquiry was not just a professional endeavor but a profound exploration into the bonding of sustainability and aesthetics—a quest inspired by a captivating revelation within the pages of “Seductive Interaction Design” by Stephen P Anderson. This insightful book, a literary guide into the intricacies of human psychology and its intricate arguments with aesthetics, sparked interest in my approach to material design.

Anderson’s exploration of how our senses, emotions, and cognitive processes intertwine with design principles provided a fresh view through which to view my own craft. The revelation was clear: beyond the technicalities of materials lies the profound impact of their aesthetics on human perception. The book explained the relation between design and human psychology, emphasizing the crucial role of first impressions in shaping our choices.

As someone deeply entrenched in the world of material design, this revelation showed resounding clarity. In my career, I’ve witnessed the meticulous crafting of narratives and strategies around products, only to observe that the allure of a well-told story often falters if the aesthetics fail to resonate with the end user. It became evident that the quest for sustainable materials should not compromise the inherent beauty that captivates the human psyche.

Preliminary Findings

Example 1: Recycled Carton Box:
In my work, I often faced a dilemma with recycled carton boxes. These boxes, used for sending parcels to design heads in automotive studios, weren’t always the prettiest. They had been through a lot and showed it. Sometimes, I hesitated to use them, worried about how someone would react when they got a parcel in one of those boxes.

There were times when the decision not to use them was driven by high stakes for me. It made me think: Should I prioritize sustainability or go for a more visually appealing option? It was a real-world challenge, trying to balance being eco-friendly with creating a positive first impression. These moments shape my ongoing quest to find materials that look good while also being good for the environment.

Example 2: Road Signs Design:
Another instance that resonated deeply with my exploration is the comparison of two road sign designs. The image below kind of defines the doubt I often grapple with as a designer.

In this scenario, the design on the right stands out for its graphical appeal. It incorporates more elements of design, making it visually striking. As a designer, my initial inclination might be to choose this aesthetically pleasing option.

However, the wisdom conveyed by the author in the book challenges this instinct. The argument presented underscores the crucial balance between purpose and functionality, particularly in contexts like road signs. While the design on the left may seem simpler graphically, its strength lies in delivering a clear and straightforward message—a vital aspect for effective communication on the road.

This example serves as a pivotal illustration of the ongoing dialogue between visual appeal and functional purpose. It prompts a reassessment of design choices, urging a careful consideration of the impact on user understanding and safety, transcending the allure of aesthetics for the sake of a more profound purpose.

What is Sustainability for me ?
As I navigate the intricate landscape of design, my perspective on sustainability has evolved into a holistic framework that covers mindful practices and thoughtful considerations. Sustainability, to me, is a multifaceted commitment woven from years of experiences, readings, and a profound understanding of the designer’s role in shaping a responsible future.

Optimization of Resources and Material:
At its core, sustainability is the art of optimization. It goes beyond the mere availability of resources, urging a thoughtful and strategic approach to their use. In a world where materials may be abundant, it’s the responsibility of a designer to ensure their conscientious and purposeful utilization. Sustainability, therefore, is the optimization of resources and materials, steering clear of a loosely planned, excessive use that could impact our planet’s health.

Exploring Eco-Friendly Manufacturing Methods:
Sustainability extends its reach beyond the drawing board into the realm of manufacturing. Here, the designer collaborates with operations and engineers, advocating for eco-friendly manufacturing methods. This means bonding the aesthetic vision of a product with manufacturing processes that minimize environmental impact. It’s a collaborative effort where design and engineering harmonize to birth not only visually appealing but eco-conscious creations.

Thoughtful Design Approaches for Diverse Aesthetics:
Design, to be truly sustainable, must embrace a thoughtful approach that spans universal, socio-cultural, and subjective aesthetics. Tailoring products to fit seamlessly into the aesthetics of diverse demographics becomes very important. As a designer, crafting meaningful experiences requires molding design strategies to resonate with the unique aesthetics of different customer segments. Sustainability, in this context, involves creating products that are not only visually appealing but deeply meaningful to the end user, considering their cultural and individual perspectives.

Material Exploration: Crafting a Wooden Phone Holder

In the next phase of this prompt, I took my theories and findings from sustainability and aesthetics and brought them to life in the wood shop. Eager to test my skills and apply the principles I’d developed, I decided to create a simple yet functional product—a wooden mobile phone holder.

Sketching and Material Choice:
Opting for simplicity, I sketched out the design of a mobile phone holder, keeping it straightforward yet practical. In a bid to align with sustainable practices, I chose not to buy new wood but instead repurpose waste material. Exploring the wood shop, I stumbled upon a corner filled with small discarded wooden blocks.

Challenges and Adaptations:
Facing a challenge where the available wooden blocks were smaller than my initial design, I embraced the opportunity to adapt. Despite the size constraint, I decided to proceed, creating a phone holder that might be a bit smaller but workable. Without additional fittings like screws or glue, I aimed for a mono-material design, relying solely on the wood itself.

Assembly and Functionality:
Crafting two pieces that cleverly assembled against each other, the final product emerged—a mobile phone holder that effectively accommodated both portrait and landscape orientations. While the height had deviated from the initial plan, it surprisingly suited the purpose well.

Mono Material Approach:
Maintaining the integrity of a mono-material design, I resisted the temptation to paint the wood. Instead, drawing from past experiences, I opted for laser engraving as an alternative solution. Creating a simple design with lines, the laser engraving added a subtle yet appealing touch without compromising the mono-material ethos.

End Result and Reception:
The final product, though seemingly simple, captured attention. Despite initial concerns, the engraved design added an element of charm, and the feedback from peers and friends was positive. The journey of transforming waste wood into a functional and aesthetically pleasing phone holder validated the principles of sustainability and thoughtful design.

Potential Impact of Sustainable Material Design on the Design Landscape:

Exploring the broader implications of sustainable material design, I envision several potential impacts on the larger design landscape:

1. Innovation and Inspiration:
Embracing sustainable material design not only sparks innovation but serves as a wellspring of inspiration for the design community. By pushing the boundaries of eco-conscious creativity, we can ignite the imaginations of fellow designers, encouraging them to explore new possibilities and redefine industry standards.

2. Environmental Consciousness:
Incorporating sustainable materials in design goes beyond aesthetics; it fosters a heightened sense of environmental consciousness. As designers prioritize eco-friendly choices, the impact reaches consumers, creating a collective shift towards more sustainable lifestyles.

3. Collaboration Opportunities:
The intricate nature of sustainable material design needs collaboration. Designers from diverse industries coming together to share insights and ideas can catalyze groundbreaking solutions. This collaborative ethos paves the way for a more interconnected and sustainable design landscape.

4. Educational Impact:
The ripple effect of sustainable material design extends into education. As these practices gain prominence, there is an opportunity to reshape design education. Integrating principles of sustainability and optimal material use can empower future designers with the knowledge and ethos needed for responsible practices.

5. Increased Consumer Influence:
Consumer preferences are evolving, and an increased focus on sustainability in design will amplify consumer influence. This shift can motivate designers and industries to center their products around sustainable materials, fostering a delicate balance between aesthetics and environmental responsibility. It’s a symbiotic relationship where consumer choices steer industry practices towards a more sustainable future.

Exploring Materiality in Interaction design

SENSORY l INTERACTIVE I ADAPTIVE I EMOTIONAL I SUSTAINABLE

I initiated this prompt by reading “The Materiality of Interaction” by Mikael Wiberg. The idea of material-centered interaction design in this reading immediately drew my focus, aligning seamlessly with my background as a material designer. Two key aspects deeply intrigued me: the significance of materials and their emotional resonance, especially how they connect with individuals on various aspects.

As I probed into the material-centered interaction design section of this book, I encountered a variety of materials—digital, analog, and smart. Despite my experience with various materials as a designer, this product-focused explanation and excellent illustrations provided me with a unique perspective on materials, their applications, and their impact on user experiences and consumer behavior. I found it highly satisfying to learn about the products I’ve never designed or have studied about their concept of interaction design.

Real World Contextualization

Upon reflection and brainstorming, I recollected two instances of materials that significantly added value to consumers through their features or alternative applications. The first example is the transition in bicycle manufacturing from traditional steel to carbon fiber due to its strength and lightweight nature. The second instance I considered is the shift from gas-powered to electric cars, where electric vehicles, notably lighter in weight, substitute the main engine with battery motors.

My Approach through Case Studies
As a Master of Design student in an interdisciplinary program, I began finding my approach towards this prompt. My ultimate goal is to dig deep into the possibilities in interaction of different materials, seeking to understand the materiality of interaction.

It’s encouraging to approach this prompt by leveraging a past case study, concepts that I had generated. Deconstructing it within the context of material-centered interaction design, which aligns precisely with the prompt’s objectives. Extracting valuable insights and establishing connections that resonate with the concepts presented in ‘The Materiality of Interaction’ by Mikael Wiberg appeared to me as an advantageous strategy.

By deconstructing the case study, I aim to analyze its various material aspects, spotlighting their impact on interaction and the emotional connection with users. This in-depth examination not only enhances my grasp of the concept but also allows for the practical application of theoretical knowledge.

Throughout the process, I emphasized into the correlations between the case study and the concepts outlined in the book and what I learnt from it. I tried to highlight instances where material-centered interaction design influenced user engagement emotionally within my prior project. This approach is geared towards crafting a comprehensive and insightful documentation of my exploration.

Case Study

Illumination Surfaces – “Fiber Optic”

As consumer demands for more advanced and immersive in-car experiences grow, automakers are challenged to find materials that can seamlessly blend technology and aesthetics within the vehicle’s interior. This includes improving ambient lighting, in-car entertainment, and user interface integration.
Fiber optics offer an innovative solution for enhancing the automotive interior. By weaving optical fibers into various interior components, automakers can achieve unique and practical results.

Research Design:

Exploratory Research: The initial phase involved extensive exploratory research to understand the properties, capabilities, and potential applications of fiber optic materials in the automotive industry. This stage digs deep into existing studies, material science, and technological advancements in fiber optics in other areas and industries.

Material Testing and Analysis:

Material Assessment: Conducted rigorous testing and evaluation of fiber optic yarns to determine their compatibility with mass production. This included analyzing the durability, flexibility, light-transmitting properties, and safety within fabric manufacturing processes. Collaboration with electric engineering team provided electrification and installation ideas.

Prototype Development:

Prototype Iteration: Utilized a prototyping approach to experiment with various weaving techniques and combinations of fiber optic yarns with traditional textiles. This phase involved creating multiple iterations to find the most effective and aesthetically appealing integration of fiber optics into fabric.

User Interaction Studies:

User Feedback Collection: Conducted user interaction studies with internal team to gather feedback on the fabric’s practicality, comfort, and visual appeal. I also choose to interact with various automotive teams to develop complementary samples with their logo and the new material. Here user input helped refine the fabric’s design to align with user expectations, customized industry standards and specific potential application areas in the car interior.

Implementation

Data-Informed Decisions:
The implementation phase drew upon critical data derived from material testing, user studies, and iterative development. These insights steered informed decisions about the integration of fiber optic material into fabric, ensuring functionality and aesthetics aligned with user expectations.

Iterative Development:
The implementation process embraced an iterative model, allowing for continuous refinement and optimization based on the findings from each OEM and their development stage. Iterative adjustments were crucial in achieving an efficient and appealing integration of fiber optic materials within the surface material. Involving stakeholders as participants during the development process kept giving insights on possible application ideas in a vehicle.

Adaptation to Industry Standards:
Guidance from the research phase directed the implementation towards meeting industry standards and safety measures. Ensuring compliance with established standards was important in aligning the innovative concept with industry requisites and user preferences identified sustainable material demand through research.

Reflecting on the prompt
This prompt significantly deepened my appreciation for the subtleties of materials and their influence on our interaction with objects. Observing the interplay between materials and their affordances, and how these influence our perception experientially, was a unique revelation. It sharpened my ability to visualize interaction based on materiality, especially that convey emotions, broadening my approach to research in interaction. It instilled a different perspective to methodical approach I hadn’t previously embraced, offering me a path for future projects.

This prompt has been a good learning experience, deepening my understanding of material-centered interaction design. It has illuminated the impact of material choices on user experiences and interactions. Through this exploration, I’ve gained an awareness of how materials not only shape the functionality but also influence the emotional and experiential aspects of design. It has refined my approach, emphasizing the critical role of materiality in eliciting specific user responses and shaping overall user experiences within designed environments. It has reinforced the significance of material selection and integration in crafting designs that resonate deeply with users, influencing their perceptions and interactions.

The inception of the illumination fabric concept started from an industry challenge demanding more immersive and interactive surface materials. This journey has led to an exploration of the material-centric approach in design. However throughout this process, crucial questions have emerged, shaping my future research and considerations:

1. The first question involves exploring the user perspective: Do individuals prioritize the material a product offers or rely more on the brand’s reputation?
2. Ethical considerations in material selection form the core of the second question, especially in a world where technology intertwines deeply with our daily lives.
3. Lastly, the exploration of how materiality influences interaction for creating more immersive and engaging user experiences has sparked a quest for enhancing user engagements through material-centered design approaches.

These inquiries remain fundamental, guiding my ongoing research and development, shaping a more comprehensive understanding of material-centered interaction design and its implications in addressing user needs and ethical considerations within the design landscape.

Animate

I’ve decided to explore animation for my 2nd prompt, which involves understanding materials in a broad sense. Animation is something I’ve always dreamed of trying, even though I’ve never attempted it before. Creating this animation project was a thrilling and challenging experience that allowed me to blend my creativity with learning its technical skills. From concept to completion, this prompt marked a significant learning in my creative journey and above all it gave me a sense of great satisfaction.

Week 1

Conceptualization – “A Trial”

It began with a simple idea that I couldn’t get out of my head. I wanted to tell a story through animation, and I began by brainstorming concepts and sketching out rough ideas. After several iterations, I settled on an idea that resonated with me. It is my logo that I have been using for quite sometime now. 

” Procreate “

For this project, I decided to use Procreate, available on my iPad. Its accessibility and user friendly interface made it the ideal choice, allowing me to focus on creativity and learning animation techniques.

Why Procreate:
Procreate’s user-friendliness and versatility were key factors in my choice. As a beginner, it provided the tools I needed to experiment and grow without the complexity of more advanced software.

The Journey:
My experience with Procreate was rewarding. I started with the basics and gradually explored more advanced animation techniques, learning and improving along the way. The app’s real-time feedback and responsiveness made the process enjoyable.

Using Procreate for animation transformed my prompt into a satisfying learning and creative experience. It was more than just a software/app choice; it was a journey of artistry and skill development.

1st trial on Procreate

Experiment One (14 Frames / second )

Experiment Two (54 frames / Second )

Week 2

Having started my project with the logo, I aimed to push my creative boundaries in the second week. This time, I decided to take a more imaginative and experimental approach. My choice was to work with the fundamental elements of design. Dots, lines and movement. I began this stage without a clear direction in mind, but the interplay of dots and lines sparked a concept that inspired me to proceed with enthusiasm.

“When a dot goes on a walk, it forms a line“

For this time, my theme revolved around the idea that when a dot goes on a journey, it transforms into a line. I commenced the animation with a single dot and demonstrated how its movement in a specific direction gradually gave rise to a line. Throughout this process, I also aimed to showcase the significant role that colors play in shaping various animation elements. I experimented extensively with colors, showcasing how a dot’s transformation wasn’t limited to becoming a line; it also evolved into colorful blocks. I creatively utilized the entire screen space, maximizing its potential to craft a compelling narrative. To achieve this, I structured the entire animation as a continuous looped narrative. It seamlessly connects the end back to its starting point, ensuring that the story never reaches a conclusion. This design approach allowed me to play the animation in a perpetual loop, maintaining its coherence and intrigue.

My Learning

Discovering the Power of Imagination:
The prompt led me to explore animation with the theme that when a dot sets off on a journey, it transforms into a line. Initially, this concept intrigued me, but as I began the project, I realized that it was more than just a theme; it was an invitation to unleash my imagination. The animation allowed me to depict the evolution of a dot into a line and, in turn, into a world of color and shape. This journey taught me that imagination knows no bounds, and every simple element can be the foundation of an extraordinary story.

Mastery Through Experimentation:
As a novice in animation, I ventured into this project with a limited understanding of the medium. However, each frame and sequence became a canvas for experimentation. The process of trial and error was integral to my learning. It taught me the importance of perseverance and the rewarding nature of mastering new skills. I uncovered the nuances of animation techniques and honed my craft along the way.

The Role of Colors:
One of the most intriguing aspects of my project was the exploration of colors. Not only did a dot evolve into a line, but it also transformed into a vibrant color block. Colors, I discovered, were more than mere aesthetics. They could convey emotions, add depth to the narrative, and captivate the viewer’s imagination. This exploration reinforced the idea that art is a fusion of technical skill and creative expression.

The Art of Storytelling:
To play my animation in a continuous loop without losing its meaning or interest, I had to craft a narrative that seamlessly connected back to its starting point. This process emphasized the art of storytelling. It was a lesson in how each element, whether a dot, a line, or a color, contributes to the creation of a coherent and engaging narrative. It showed me that animation isn’t just about movement but about storytelling through movement.

My journey through this animation project was one of self-discovery and artistic growth. I learned that creativity is a powerful force, and animation is a medium through which we can bring our imagination to life. The project instilled in me the idea that art and learning are inseparable companions, and every experiment, no matter how simple, is a step forward in our creative journey.

As I look back at this project, I see not only the animation but the story of my own growth as an artist. It’s a journey I am eager to continue, for there is no end to what can be created when a dot goes on a walk.

Gift to Chris by Pritam

Met Chris

My first ever assignment at Emily Carr for the Design studio class. I have a strong feeling that I’ll remember it forever.

The task of selecting a meaningful gift for my fellow studio-mate, Chris ! I was fortunate that I already had a long chat with Chris on the very first day of our program / orientation. We both walked in to the campus together and now by the lucky draw he is my partner for the prompt.

The discussion & decision

With careful consideration of Chris’ interests, passions, and the spirit of our assignment, I started this prompt. After getting to know Chris better through informal interactions, I discovered his profound love for two things. One that was common between us, our interest in cars. Second was landscape design. I wasn’t still on a decision on which side I should be heading to, so I kept talking to him after our classes and through texts. His passion while he talked about space design, spatial arrangement, and user experience somehow overshadowed his interest in cars as per my perception. He frequently used some words that I could clearly say were his favorite topics. They were space, park, plaza, street and people.

Chris’ enthusiasm for these domains suggested to me that a gift related to his creative endeavors and this interest would be most cherished and meaningful. As a landscape designer, I recognized the significance of visual thinking and quick sketches in his line of work. A sketchbook, I thought, would not only be a practical tool but also a medium for him to capture his design inspirations, ideas, and observations.

Individual Flair

In addition to the sketchbook itself, I wanted to include a personal touch that would resonate with Chris’s passion for landscape design. Having explored landscape design more deeply after meeting Chris, I found myself drawn to the innovative use of textiles, and yarns in landscape architecture. It reminded me of a college project that I did long ago. Going ahead, this exploration opened up new possibilities and connections between my area of expertise as a textile and interior designer and Chris’s world of landscape design.

To bridge this gap and establish a connection, I carefully selected and pasted a collection of pictures on the first page of the sketchbook. These images are my research and a reflection of the landscape design ideas that have inspired me since our interaction. They showcase the remarkable interplay of textiles, and yarns in creating unique, dynamic outdoor spaces. My hope is that these visuals will serve as a source of inspiration for Chris and illustrate our shared journey of exploration and creativity.

Inspire & Collaborate

I believe and hope that these ideas, where textiles are integrated seamlessly into landscape design, will inspire Chris to consider the innovative use of textiles as an additional material in his future landscape design projects. This gift not only represents our shared interests but also signifies the potential for collaboration and interdisciplinary exploration in our creative endeavors.

My idea to give Chris a sketchbook with this personal touch was rooted in the belief that it could serve as both a practical and sentimental gift. It offers a canvas for his creative expressions and an avenue to document his design journey while also symbolizing the connection we’ve established through our shared interests.

I look forward to presenting this sketchbook to Chris, hoping that it will serve as a reminder of our shared experiences and our commitment to making and generosity. The form and meaning of this gift may appear simple, but I believe it holds the potential to deepen our rapport and understanding as we continue our creative journey together.

I am excited about this opportunity to connect with Chris and look forward to his response to the gift, hoping that it resonates with his creative spirit as much as it did with mine.